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拍品专文
'We shan't see Danish art through Parisian eyes anymore, on the contrary, we shall see and study Paris, yes, and the rest of the world through Danish eyes.' (Asger Jorn, En ny billedaflaesning og dens konsekvenser, 'Nyt tidsskrift for Kunstindustri', 1946, translated by G. Birtwistle). Jorn not merely speaks of a physical distancing from the established and predominating Parisian art world at that time, but rather of a new and revolutionary approach in the visual arts. He embraced Danish culture, with its mythologies, surrealism and folk art, incorporating these elements into an expressive, spontaneous and individualist manner of painting, thus opposing the, in his perception, sterile art establishment.
He reached for an anti-intellectual and anti-aesthetic form of art and he considered his own works to be 'genuine acts of vandalism', an explicit reference to art from the Viking era and an ironic comment on the tendency to consider the Viking period as a vandalist and barbaric one. The present lot is exemplary for this notion, as it is wild and expressive, achieved through the rough handling of brush and paint, the bright colours blotted thickly on the canvas and the dynamics it implies.
Although Jorn has titled the present lot himself on the reverse, he was somewhat resistant to take a title as a starting point for analysing and defining an artwork. According to Jean Dubuffet, 'he likes to keep meaning speculative. He was in love with the irrational which in all his works he continually faced'. (J. Dubuffet as cited in G. Atkins, Asger Jorn, the final years: 1965-1973, London 1997, p. 15). By giving the painting the title The enchanted hill, Jorn might conjure up visions of an innocent fairy-tale, but it also resonates as a slightly darker element from Scandinavian mythologies. This ambiguous interpretation is enhanced when looking at the work: the vivid colours contrast starkly against the black surfaces and the fierceness of the rendering of the paint. Jorn has abandoned the image and he has made the paint on the canvas autonomous: the formal aspects have been given predominance over figuration.
By 1957 Jorn 'produced art of the highest quality' (G. Atkins, Asger Jorn, the crucial years: 1954-1964, Copenhagen/London 1977, p. 10), since he had achieved to perfect the visual aspects of his views on art, which are embodied in La colline enchantée: through pure expression he has abandoned any reference to the establishment, presenting a personal and overwhelming experience on the canvas.
He reached for an anti-intellectual and anti-aesthetic form of art and he considered his own works to be 'genuine acts of vandalism', an explicit reference to art from the Viking era and an ironic comment on the tendency to consider the Viking period as a vandalist and barbaric one. The present lot is exemplary for this notion, as it is wild and expressive, achieved through the rough handling of brush and paint, the bright colours blotted thickly on the canvas and the dynamics it implies.
Although Jorn has titled the present lot himself on the reverse, he was somewhat resistant to take a title as a starting point for analysing and defining an artwork. According to Jean Dubuffet, 'he likes to keep meaning speculative. He was in love with the irrational which in all his works he continually faced'. (J. Dubuffet as cited in G. Atkins, Asger Jorn, the final years: 1965-1973, London 1997, p. 15). By giving the painting the title The enchanted hill, Jorn might conjure up visions of an innocent fairy-tale, but it also resonates as a slightly darker element from Scandinavian mythologies. This ambiguous interpretation is enhanced when looking at the work: the vivid colours contrast starkly against the black surfaces and the fierceness of the rendering of the paint. Jorn has abandoned the image and he has made the paint on the canvas autonomous: the formal aspects have been given predominance over figuration.
By 1957 Jorn 'produced art of the highest quality' (G. Atkins, Asger Jorn, the crucial years: 1954-1964, Copenhagen/London 1977, p. 10), since he had achieved to perfect the visual aspects of his views on art, which are embodied in La colline enchantée: through pure expression he has abandoned any reference to the establishment, presenting a personal and overwhelming experience on the canvas.